PUBLICATIONS    OF 

THE   HISPANIC   SOCIETY    OF   AMERICA 

No.    101 


I 


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ANTIQUE    MARBLES 


IN 


THE  COLLECTION   OF 


THE  HISPANIC  SOCIETY  OF  AMERICA 


BY 


J.  PIJOAN 


•  • .  » «» 


».  » *   » 


•  '.  a   •     »» 


THE   HISPANIC  SOCIETY  OF    AMERICA 

NEW   YORK 

1917 


f> 


Copyright,  1917,  by 
The  Hispanic  Society  of  America 


^k-ymj':\..: 


TABLE  OF  CONTENTS 

Page 

List  of  Illustrations ix 

Introductory  Notes ,  .  1 

A  Statue  of  Artemis 9 

A  Statue  of  Hermes 15 

Portrait  Bust  of  a  Woman^  Probably  Livia 

Drusilla    23 

Portrait  Bust  of  Lucius  Aurelius  Verus..  29 

Bibliography    33 


vu 


354946 


LIST  OF  ILLUSTRATIONS 

Two  Roman  Capitals Frontispiece 

Page 

A  Statue  of  Artemis 8 

(Front  view) 14 

(Reverse  viezv) 19 

Portrait  Bust  of  a  Woman,  Probably  Livia 

Drusilla    22 

Portrait  Bust  of  Lucius  Aurelius  Verus.  .     28 


A  Statue  of  Hermes 


IX 


'      ANTIQUE  MARBLES 

IN  THE  COLLECTION  OF 

THE    HISPANIC    SOCIETY    OF    AMERICA 


ANTIQUE   MARBLES 

IN  THE  COLLECTION  OF 

THE  HISPANIC  SOCIETY  OF  AMERICA 


INTRODUCTORY  NOTES 

ALTHOUGH  there  are  no  references  in  ancient 
-^  ^  literature  to  any  special  art  collection  in  Spain 
during  the  period  of  Roman  dominion,  there  undoubt- 
edly existed  in  the  Peninsula  at  that  epoch  collections 
of  sculpture  similar  to  that  of  Juba  H,  in  Cherchel, 
Africa/  or  that  in  Martres-Tolosanes,  near  Toulouse, 
France.^  Excavations  in  Italica  and  other  ancient 
towns  have  shown  the  extensive  use  made  of  statuary 
and  minor  sculptural  adornments  in  Roman  Spain. 
Besides  receiving  gifts  of  portrait  busts  from  the 
Emperors  and  other  imperial  personages,  the  cities 
themselves  erected  monuments  adorned  with  statues. 
Frequent  reference  is  made  in  inscriptions  to  these 
results  of  municipal  enterprise.  Private  art  lovers 
must  also  have  gathered  works  of  sculptural  art,  for 
statuary  is  often  found  to-day  amid  the  ruins  of  villas, 
some  of  which  are  far  removed  from  the  sites  of 
ancient  towns. 

^  G.  Bossier.    L'Afrique  romaine. 

'  Joulin.     Les   etablissements  gallo-romains  de  la  plaine  de 
Martres-Tolosanes. 


2  ANTIQUE  MARBLES 

That  the  interest  in  classic  antiquities  continued 
to  the  fifth  century  and  then  throughout  the  period  of 
the  Visigothic  Kings  is  proved  by  the  books  of  Isidorus. 
It  is  also  certain,  as  related  in  the  Saracenic  tales  of 
the  Conquest,^  that  the  Visigothic  Kings  had  a  sort  of 
royal  treasury  in  Toledo  full  of  works  of  art.  Theo- 
dulf,  Bishop  of  Orleans,  furnishes  another  proof  that 
interest  in  the  products  of  classic  civilization  did  not 
die  during  the  first  centuries  of  the  middle  ages,  for 
he  expressed  in  verse  the  greatest  admiration  for 
Greek  vases  and  other  antique  sculptures. 

This  interest  in  the  classic  world  and  in  the 
achievements  of  its  civilization  continued  throughout 
the  middle  ages.  The  erudite  Alfonso  X  of  Castile, 
who  gave  much  time  to  the  study  of  history,  compiled 
the  knowledge  derived  from  his  readings  of  classic 
authors  in  his  Grande  e  General  Estoria.  It  was 
probably  a  study  of  these  same  authors  that  caused 
Peter  III,  King  of  Aragon,  to  write  the  first  modern 
eulogy  of  the  Acropolis  of  Athens,  to  which  he  referred 
as  ''La  plus  richa  joya  qui  al  mont  sia"  (The  rich- 
est jewel  in  the  world).  A  Roman  sarcophagus  was 
preserved  during  the  middle  ages  in  the  courtyard  of 

Dozy.  Histoire  des  musulmans  d'Espagne  jusqu'a  la 
conquete  de  I'Andalousie  par  les  Almoravides.     (711-1110). 


HISPANIC    SOCIETY    OF   AMERICA  3 

the  Royal  Palace  of  Barcelona,  and  one  of  the  Kings 
of  Aragon  was  buried  in  a  porphyritic  urn  from  Sicily.* 

At  the  end  of  the  fourteenth  century,  transla- 
tions of  ancient  authors  became  more  frequent.  Juan 
Fernandez  de  Heredia  brought  a  Greek  from  the 
Orient  who  translated  certain  of  the  classic  writers  for 
the  first  time.  In  the  succeeding  centuries,  as  oppor- 
tunities for  reading  the  classics  became  more  general, 
interest  in  the  ancient  world  rapidly  increased.  King 
Martin  ordered  excavations  at  Rosas,  the  ancient 
Rhodus  near  Ampurias,  where  a  number  of  Greek 
vases  were  found. ^  It  is  also  widely  known  that  the 
Catholic  Kings,  Ferdinand  and  Isabella,  ordered  the 
restoration  of  the  aqueduct  at  Segovia,  the  most  cele- 
brated Roman  monument  in  Spain. 

During  the  reign  of  Charles  V  the  importation 
by  Spain  of  classic  marbles  from  Italy  recom- 
menced. Pope  Paul  III  presented  the  Emperor  and 
the  Emperor's  son  Philip,  who  afterward  reigned  as 
Philip  II,  with  valuable  gifts  of  sculpture.  This  im- 
portation continued  throughout  the  seventeenth  and 
eighteenth  centuries,  the  crown  and  nobility  bring- 
ing marbles  in  large  numbers  from  Rome  and  Naples. 

*  Rubio   y   Lltich.     Documents   per   Vhistoria   de   la   cultura 
catalana  viitg-eval. 
'  Ibid. 


4  ANTIQUE  MARBLES 

In  1648,  Philip  IV  sent  Velazquez  to  Italy  to  procure 
casts  of  classic  masterpieces  which  were  afterward 
reproduced  in  bronze  for  the  decoration  of  the  Royal 
Alcazar.  In  addition  to  casts,  Velazquez  brought  from 
Italy  some  three  hundred  works  of  art  in  bronze, 
marble,  and  on  canvas,  probably  forming  in  this  way 
the  nucleus  of  the  Royal  Collection  now  in  the  Prado. 
Philip  V  and  his  Queen,  Isabella  Farnese,  added  to 
this  nucleus  ancient  marbles  purchased  from  Christina 
of  Sweden. 

Still  later,  the  Royal  Collection  was  further 
enriched  through  the  activities  of  Jose  Nicolas  de 
Azara.  While  serving  as  an  ambassador  of  Charles 
IV  at  Rome,  Azara  procured  a  wonderful  collection  of 
antique  statuary  which,  upon  his  return  to  Madrid,  he 
presented  in  part  to  the  King.  Meanwhile,  connois- 
seurs throughout  the  country  were  conducting  excava- 
tions in  nearly  all  the  important  cities  of  Roman  Spain, 
and  much  archaeological  material,  thus  unearthed, 
found  its  way  into  various  collections.  In  the  Casa  de 
Pilatos  in  Seville,  the  Dukes  of  Alcala  accumulated 
works  of  art  discovered  at  Italica  and  other  places  in 
Andalusia,  adding  these  to  the  statues  presented  to 
their  ancestor,  Don  Per  Afan  de  Ribera,  Viceroy  of 
Naples,  by  Pope  Pius  V  in  1556.  Thus  the  collection 
of  antique  marbles  in  the  Casa  Pilatos  became  the  most 


HISPANIC   SOCIETY    OF   AMERICA  5 

celebrated  in  Spain.  The  Dukes  of  Alba  also  had  an 
excellent  collection  of  statuary.  Cardinal  Despuig 
founded  his  museum  at  Raxa,  in  Majorca,  with 
sculpture  imported  for  the  most  part  from  Italy.  The 
example  of  these  nobles  was  followed  by  many  other 
members  of  the  aristocracy. 

During  the  nineteenth  century,  no  more  antique 
marbles  were  taken  to  Spain;  instead,  many  were 
exported  by  dealers.  Several  large  collections  have 
been  scattered  within  comparatively  recent  times. 
Fresh  excavations  have  brought  new  treasures  to 
light,  however,  among  which  may  be  mentioned  the 
marbles  discovered  by  the  official  commissions  recently 
excavating  at  Merida  and  Ampurias. 


A   STATUE   OF   ARTEMIS 


A    STATUE    OF   ARTEMIS 

Although  the  collection  of  The  Hispanic  Society 
of  America  is  composed  chiefly  of  material  illustrative 
of  what  is  often  called  the  golden  age  of  Spanish  art, 
early  epochs  of  Spanish  history  and  civilization  are 
also  adequately  represented.  Besides  a  small  but  very 
interesting  collection  of  Punic  remains  excavated  in  the 
valley  of  the  Betis  (Guadalaquiver)  by  Mr.  George 
Bonsor,  the  exhibits  include  two  Roman  capitals 
(Frontispiece) — one  in  excellent  preservation,  the  other 
rechiseled  by  Arabs — and  the  four  pieces  of  classic 
sculpture  that  are  the  subject  of  this  monograph. 

The  first  of  these  sculptures  is  a  copy  of  the 
Versailles  Artemis.  It  is  headless,  the  arms  are 
broken  off  at  the  shoulders,  and  the  legs,  at  the  knees. 
The  rest  of  the  statue  is  well  preserved  and  of  par- 
ticularly fine  workmanship.  The  marble  is  yellowish, 
and  probably  Greek.  This  statue  of  Artemis  is  very 
much  smaller  than  the  original  in  the  Louvre,  measur- 
ing in  its  mutilated  condition  but  twenty-three  inches 
in  height.  It  probably  came  from  the  ruins  of  Italica 
where  the  greater  part  of  the  classic  sculptures  sold  at 
Seville  have  been  obtained. 


10  ANTIQUE  MARBLES 

The  importance  of  this  mutilated  piece  of  sculp- 
ture will  be  appreciated  when  it  is  considered  that  it 
is  the  only  known  ancient  copy  of  the  Versailles 
Artemis  and  is  therefore  sure  to  be  consulted  and 
studied  with  reference  to  the  theories  and  controversies 
which  have  arisen  regarding  its  celebrated  original. 
It  should  be  noted  in  this  connection  that  a  number  of 
critics  who  have  written  of  the  Louvre  statue  were 
evidently  not  aware  of  the  existence  of  this  copy. 

When  the  distinguished  critic  of  Greek  sculpture, 
Professor  Adolph  Furtwangler,  suggested  in  his  com- 
parative study  of  the  Versailles  Artemis  and  the 
Belvedere  Apollo  that  both  statues  were  companion 
pieces  by  Leochares,  he  mentioned  the  two  copies  pre- 
served of  the  head  of  Artemis,  but  could  indicate  noth- 
ing concerning  the  body.  Later,  when  Amelung  re- 
opened the  question  of  the  statues  of  Artemis  and 
Apollo,  he,  also,  noted  the  lack  of  any  copy  of  the  body 
of  the  Artemis.  This  lack  of  a  replica  for  reference 
was  the  more  embarassing  for  Amelung  in  that  he  had 
suggested  in  his  article  certain  corrections  that  should 
be  made  in  the  restored  portions  of  the  two  statues  in 
question.  According  to  his  theories,  the  left  arm  of 
the  Artemis  should  be  raised  and  holding  a  bow  like 
that  of  the  Apollo.  While  the  Hispanic  Society  Arte- 
mis, being  mutilated,  does  not  settle  all  the  various 


HISPANIC   SOCIETY    OF   AMERICA        11 

questions  that  have  arisen  regarding  the  Louvre  Arte- 
mis, it  at  least  proves  that  the  right  arm  was  raised  in 
a  horizontal  position  and  that  the  left  arm  was  hang- 
ing down. 

The  other  details  of  the  Hispanic  Society  torso 
reveal  nothing  more.  The  head  was  a  postiche  piece 
set  in  a  hole.  This  new  copy  offers  no  evidence  as 
to  the  direction  in  which  the  head  of  the  Versailles 
Artemis  was  turned, — a  question  still  in  doubt.  Never- 
theless, we  do  learn  from  it  that  the  original  by 
Leochares,  according  to  Furtwangler,  or  by  Eu- 
phranor,  according  to  Amelung,  was  copied  in  ancient 
times  on  a  smaller  scale.  It  is  also  interesting  to  note 
the  presence  of  this  piece  of  Greek  sculpture  in  Italica, 
w^here  the  other  beautiful  Hellenistic  piece  known  as 
the  Diana  of  Italica,  and  now  in  the  Seville  Museum,^ 
was  probably  produced.  The  torso  belonging  to  the 
Hispanic  Society  is  that  which  is  mentioned  and  repro- 
duced by  Delgado  in  his  Nuevo  metodo  de  clasiUcacion 
de  las  medallas  autonomas  de  Espana? 

®  Gomez  Moreno  y  Pijoan.  Materiales  de  Arqueologih 
espanola,  Cuaderno  I. 

^  "Don  Manuel  L.  Almonte  has  obtained  fine  cameos  and 
a  fragment  of  a  statue  of  Diana  in  beautiful  marble."  Vol.  II, 
p.  140. 


A  STATUE  OF  HERMES 


A   STATUE   OF   HERMES 

This  is  a  Roman  copy  in  Italian  or  Andalusian 
marble  of  a  statue  of  Hermes,  who  is  represented  as 
wearing  a  chlaniys  or  mantle  which,  crossing-  his  chest, 
left  shoulder  and  back,  is  fastened  at  the  right  shoulder 
by  a  Hhula  or  clasp.  The  left  arm  of  the  statue  for- 
merly supported  a  figure  of  Dionysus,  a  trace  of  whose 
small  hand  may  be  observed  in  the  folds  of  the 
chlamys.  The  rest  of  the  figure  of  Dionysus  has  dis- 
appeared. This  statue  of  Hermes  is  headless,  the  arms 
are  broken  ofT  at  the  shoulders,  the  right  leg  termi- 
nates at  the  knee,  the  left  leg  at  the  middle  of  the  thigh. 
These  mutilations,  however,  do  not  prevent  the  move- 
ment of  the  figure  being  easily  perceived.  The  left 
foot  evidently  rested  firmly  on  the  ground  and  sup- 
ported the  main  weight  of  the  body.  The  right  foot 
swung  somewhat  forward  in  comparative  freedom  and 
served  to  balance  the  figure  as  in  certain  of  the  statues 
of  Polyclitus.  The  treatment  of  the  muscles  points  to 
the  Doryphorus  and  other  pre-Praxitelean  models.  In 
its  mutilated  condition  the  statue  measures  but  eighteen 
inches  in  height.  As  there  are  signs  of  earth  adhering 
to  it,  it  may  be  judged  of  comparatively  recent  dis- 


16  ANTIQUE  MARBLES 

covery,  for  it  has  evidently  not  been  cleaned  by  anti- 
quarians or  dealers. 

The  study  of  this  work  of  art  brings  up  again 
the  question  as  to  the  possible  character  of  the  lost 
statue  of  Hermes  and  Dionysus  by  Cephisodotus,  the 
father  of  Praxiteles.  That  such  a  statue  existed  is 
proved  by  literary  references.  Of  Cephisodotus  but 
one  work  is  known, — the  Eirene  and  Pluto  preserved 
in  the  Munich  Museum.  The  treatment  of  the  drapery 
and  other  portions  of  that  statue  show  an  intermediate 
style,  half  way  between  Praxiteles  and  the  preceding 
masters  of  the  fifth  century.  The  discovery  of  the  lost 
statue  by  Cephisodotus  would  be  an  artistic  find  of  the 
first  importance,  as  he  was  not  only  the  father,  but  the 
teacher  of  Praxiteles.  It  is  now  considered  that  the 
Praxitelean  Hermes  and  Dionysus  at  Olympia  is  a 
work  executed  during  the  youth  of  the  great  Athenian 
sculptor  and  that  it  shows  the  influence  of  his  father's 
style.  At  any  rate,  all  that  relates  to  the  Hermes  of 
Praxiteles  at  Olympia,  and  all,  indeed,  that  relates  in 
any  way  to  Praxiteles,  is  so  interesting,  that  the  dis- 
covery of  a  statue  of  the  same  subject  known  to 
have  been  made  by  his  father  would  cause  a  veritable 
sensation.  Archaeological  authorities  have  given  much 
time  in  recent  years  to  attempts  to  trace  the  missing 
piece  of  sculpture. 


HISPANIC   SOCIETY    OF   AMERICA        17 

Fiirtwangler  did  not  discover  any  considerable 
clues  as  to  the  whereabouts  of  this  statue,  Ijut  W.  Klein, 
in  an  article  entitled  Uher  die  Hermes-Criippe  eines 
Praxiteles-S chillers,  published  in  1911  in  Jahreshefte 
des  osterreichischen  Archdeologischen  Institutes,  sug- 
gested that  the  lost  work  of  Cephisodotus  could  be 
found  by  combining  the  Young  Orator  (so  called)  of 
the  Museo  del  Prado  at  Madrid  with  a  small  Dionysus 
in  the  Museo  del  Termo  at  Rome.  This  suggestion 
made  no  great  impression.  Another  article  in  the  same 
periodical,  which  shows  how  great  has  been  the  inter- 
est in  this  problem,  was  the  account  by  Vittorio 
Macchioro  of  the  discovery  in  1896,  in  the  Roman 
Baths  at  Aguano,  of  another  Hermes  and  Dionysus, 
supposed  by  him  to  be  the  Hermes  of  Cephisodotus. 

In  the  following  year,  1912,  in  collaboration  with 
Manuel  Gomez-Moreno,  the  present  writer  published 
an  account  of  fifty-nine  works  of  sculptural  art  in 
various  public  and  private  collections  in  Spain.  In 
this  volume  special  attention  was  given  to  a  torso  of 
Hermes  in  the  Seville  Museum.  This  torso,  like  that 
belonging  to  The  Hispanic  Society  of  America,  is 
mutilated,  but  has  a  little  finger  of  Dionysus  attached 
to  the  chlamys.  The  Sevillian  Hermes  came  from 
Italica  where  it  was  discovered  in  1788.  It  was  at 
one  time  supposed  to  be  an  Apollo.     It  is  better  and 


18  ANTIQUE  MARBLES 

larger  than  the  Hermes  of  The  Hispanic  Society.  The 
action  of  the  two  figures  is  in  a  general  way  similar, 
the  Hermes  of  Seville  merely  offering  a  reversal  of  the 
position  of  the  figure  in  The  Hispanic  Society's  collec- 
tion; that  is,  where  the  latter  rests  on  the  left  foot  and 
keeps  a  balance  with  the  right  foot,  the  Sevillian  figure 
rests  on  the  right  foot  and  sustains  a  balance  with  the 
left.  During  the  Grecian  epoch  it  was  customary,  in 
ateliers  where  reproductions  of  well-known  statues 
were  made,  to  produce  copies  in  which  the  general 
movement  of  the  figure  was  the  reverse  of  that  of  the 
original,  as  well  as  copies  in  which  the  movement  was 
identical  with  that  of  the  original.  In  Roman  times, 
also,  it  was  not  uncommon  to  find  statues  which  com- 
bined styles  of  different  periods.  The  Hermes  of  The 
Hispanic  Society,  like  the  Hermes  at  Seville,  instead 
of  being  a  copy  of  the  lost  statue  by  Cephisodotus  may 
be  a  Hermes  and  Dionysus  from  the  provinces,  com- 
bining in  itself  a  Polyclitean  body  and  a  Hellenistic 
child.  For  the  solution  of  problems  such  as  these,  one 
must  wait  with  patience  for  further  evidence. 


PORTRAIT  BUST  OF  A  WOMAN,  PROBABLY 
LIVIA  DRUSILLA 


PORTRAIT  BUST  OF  A  WOMAN,  PROBABLY 
LIVIA  DRUSILLA 

This  is  a  portrait  of  a  Roman  woman  of  the 
Augustan  age.  It  is  cut  in  ItaHan  marble  and  is  nearly 
life  size,  measuring  about  fifteen  and  one-half  inches 
in  height  from  the  upper  part  of  the  breast  to  the  top 
of  the  head.  This  work  of  art  was  probably  imported 
from  Rome  with  the  intention  of  placing  it  upon  a 
body  sculptured  in  the  colonies, — avoiding  by  this 
means  the  difficulty  and  cost  of  transporting  a  large 
statue.  The  subject  of  the  portrait  is  shown  with 
her  hair  parted  in  the  middle  and  arranged  in  simple 
waves.  The  ends  of  the  locks  of  hair  are  not  indi- 
cated. Sculptors  at  Rome  preparing  portraits  of  mem- 
bers of  the  reigning  family  for  the  colonies  did  not 
expend  time  on  such  details,  but  merely  elaborated  the 
face  of  the  imperial  personage  whose  portrait  was 
desired.  The  lower  portion  of  this  piece  of  sculpture 
is  arranged  for  adaptation  to  a  figure  dressed  in  a 
tunic  and  mantle.  The  head  is  adorned  with  a  plain 
crown  or  diadem  from  which  pearl  pendants  hang  on 
either  side  of  the  neck. 

The  lady  represented  is  undoubtedly  Livia  Dru- 
silla,  consort  of  the  Emperor  Augustus.     The  head- 


24  ANTIQUE  MARBLES 

dress  is  of  the  Augustan  period  and  the  large  eyes  are 
characteristic  of  the  Claudian  family.  The  nose  is 
broken  off,  but  the  mouth  with  its  somewhat  protrud- 
ing upper  lip  and  its  slight  dimple  on  either  side  is  the 
same  type  of  mouth  that  is  such  an  essential  character- 
istic of  Livia's  son,  Tiberius.  If,  when  examining  this 
head,  one  shuts  off  from  view  the  upper  part  of  the 
face,  leaving  but  the  mouth  and  chin  visible,  and  then 
compares  these  portions  with  the  same  features  in  a 
head  of  Tiberius,  the  mother  may  be  clearly  recognized 
by  her  resemblance  to  the  son. 

This  portrait  is  of  the  greatest  interest,  not  only 
on  account  of  its  inherent  beauty  but,  also,  because  it 
helps  to  establish  the  likeness  of  Livia,  which  is  still 
somewhat  doubtful.  The  supposed  portrait  at  Naples 
is  not  deserving  of  the  slightest  credit  and  does  nothing 
toward  solving  the  problem.  In  one  detail  at  least  it 
is  not  in  accord  with  what  is  known  of  Livia's  appear- 
ance: the  hair  in  the  Naples  bust  is  much  frizzed 
or  crimped,  while  on  coins  and  on  a  bas-relief  at 
Florence  from  the  Ara  Pacis,  or  Altar  of  Peace,  where 
Livia  is  shown  in  procession  with  other  members  of 
her  family,  the  hair  is  parted  in  the  middle  and  waved 
according  to  the  general  custom  of  the  women  of  her 
house  and  time.  Unfortunately,  the  nose  in  the  relief 
at  Florence  has  been  restored.    At  Ravenna  is  another 


HISPANIC   SOCIETY    OF   AMERICA        25 

relief  in  which  the  Empress  is  shown,  but  in  this  the 
head  has  been  completely  destroyed.  In  the  bust 
recently  discovered  at  Aquileia,  near  the  upper  Adriatic, 
the  face  is  intact  and,  whether  a  good  or  bad  Hkeness, 
it  at  least  supplies  another  complete  portrait  of  the 
Empress.  The  Aquileia  portrait,  however,  is  not 
deserving  of  much  consideration  as  it  is  less  than  life 
size  and  does  not  appear  to  be  the  work  of  a  great 
artist,  as  does  the  bust  in  the  collection  of  The  His- 
panic Society  of  America.  Nor  are  certain  cameos  in 
the  Louvre  and  portraits  on  coins  of  much  help  in 
establishing  the  likeness. 

In  the  present  work  Livia  is  represented  as 
between  thirty  and  forty  years  of  age.  Possibly  this 
head  was  sent  to  Spain  during  the  reign  of  Augustus, 
as  the  almost  Grecian  technique  indicates  that  it  was 
done  at  the  best  period  of  the  Augustan  age, — the 
period  in  which  the  reliefs  of  the  Ara  Pacis  and  the 
,  statue  of  Prima  Porta  were  being  executed  at  Rome. 

Livia  Drusilla,  Roman  Empress,  born  in  55  B.  C, 
was  the  daughter  of  Livius  Drusus  Claudiamus.  She 
was  first  married  to  Tiberius  Claudius  Nero  by  whom 
she  had  two  sons, — Tiberius,  afterward  Emperor,  and 
Drusus.  In  38  B.  C.  she  married  the  future  Emperor 
Augustus,  but  bore  her  imperial  consort  no  children. 
She  was  a  woman  of  ambitious  nature  and  was  accused 


26  ANTIQUE  MARBLES 

of  committing  various  crimes  in  order  to  secure  the 
succession  of  her  son  Tiberius  to  the  throne.  Among 
the  charges  laid  at  her  door  are  those  of  having  caused 
the  premature  death  of  Marcellus,  nephew  and  heir  of 
Augustus ;  of  Gains  and  Lucius  Caesar,  the  Emperor's 
grandsons;  and  even  of  having  caused  the  death  of 
Augustus  himself.  She  appears,  however,  to  have  held 
the  affection  of  the  Emperor  until  his  death.  For  a 
time  after  the  accession  of  Tiberius  she  acted  as  joint 
ruler  with  her  son,  but  he  soon  tired  of  her  efforts  at 
control.  An  estrangement  followed  which  became 
complete.  When,  after  years  of  quiet  retirement,  Livia 
died  at  an  advanced  age,  Tiberius  appears  to  have 
received  the  news  of  his  mother's  death  with  indiffer- 
ence and  did  not  attend  her  funeral. 


PORTRAIT  BUST  OF 
LUCIUS  AURELIUS  VERUS 


PORTRAIT  BUST  OF 
LUCIUS  AURELIUS  VERUS 

This  excellently  preserved  bust  is  a  portrait  of 
Lucius  Aurelius  Verus.  The  marble  is  white  and 
probably  Italian.  The  neck  is  broken  but  the  parts 
have  been  put  together  and  are  perfectly  adjusted. 
This  work  of  art  measures  twenty-two  inches  from  the 
lower  part  of  the  chest  to  the  top  of  the  head. 

The  portrait  is  clearly  of  the  age  of  the  Antonines. 
The  pupils  of  the  eyes  are  indicated,  a  detail  which 
is  not  found  in  Roman  sculpture  before  the  time  of 
Hadrian.  It  is  curious  that  the  chest  has  the  propor- 
tions of  the  ideal  portraits  of  Antinoiis,  which  must 
have  remained  as  standard  for  some  time. 

The  recognition  of  this  work  as  a  portrait  of 
Lucius  Verus  presents  no  difficulty.  His  likeness,  like 
that  of  Marcus  Aurelius,  is  fully  established  through 
several  existing  portraits;  the  general  cast  of  his 
countenance  and  the  characteristic  growth  of  his  hair 
cannot  be  mistaken  for  those  of  any  other  person  of 
the  imperial  family  during  the  second  century.  The 
bust  in  the  collection  of  The  Hispanic  Society  of 
America  shows  the  Emperor  without  a  trace  of  the 


30  ANTIQUE  MARBLES 

heavy  beard  and  mustache  which  he  wore  later  in  Hfe. 
He  appears  to  be  about  twenty  years  of  age,  somewhat 
older  than  in  the  portrait  at  Munich,  but  younger  than 
in  the  busts  in  the  Louvre  and  the  Vatican. 

Lucius  Aurelius  Verus  was  born  in  130  A.  D.  His 
original  name  was  Lucius  Ceionius  Commodus.  He 
was  adopted  by  the  Emperor  Hadrian  in  136  A.  D., 
and,  upon  the  death  of  that  ruler  in  138,  was  again 
adopted,  along  with  Marcus  Aurelius,  by  the  succeed- 
ing Emperor,  Antoninus  Pius.  On  the  death  of 
Antoninus  in  161,  Marcus  Aurelius  created  Verus  his 
colleague  in  the  ruling  of  the  Empire,  although  Verus, 
as  a  result  of  his  defects  and  vices,  had  been  excluded 
from  the  succession  by  Antoninus.  The  two  Em- 
perors, despite  their  absolute  dissimilarity  of  charac- 
ter, ruled  together  without  discord.  Verus  married 
the  daughter  of  his  associate  and  distinguished  him- 
self in  the  war  against  the  Parthians.  He  died  of 
apoplexy  when  thirty-nine  years  old. 


BIBLIOGRAPHY 


BIBLIOGRAPHY 

The  following  is  a  list  of  the  more  important 
books  on  the  archaeology  of  Spain : 

Albertini,  Eugene.  Sculptures  antiques  du  conventus 
tarraconensis.     Barcelona,  1911-1912. 

Albinana  y  de  Borras,  Juan  Francisco,  and  Bofarull  y 
Broca,  Andres  de.  Tarragona  monumental;  6  sea 
Descripcion  historica  y  artistica  de  todos  sus  anti- 
giiedades  y  monument os.     Tarragona,   1849. 

Agustin,  Antonio.  Didlogos  de  medallas,  inscriciones 
y  otras  antigiiedades,    Tarragona,  1587. 

Barron  Gonzalez,  Eduardo.  Catdlogo  de  la  escultura 
del  Museo  del  Prado  de  Madrid.    Madrid,  1908. 

Bonsor,  George  Edward.  Los  pueblos  antiguos  del 
Guadalquivir  y  las  alfarerias  romanas.  Madrid, 
1902. 

Cean  Bermudez,  Juan  Augustin.  Sumario  de  las 
antigiiedades  romanas  que  hay  en  Espana,  en 
especial  las  pertenecientes  a  las  bellas  artes. 
Madrid,  1832. 


34  ANTIQUE  MARBLES 

Florez,  Enrique,  editor.  Espana  Sagrada.  Theatro 
geo graphic 0 -hist orico  de  la  iglesia  de  Espana. 
Madrid,  1747-1879.    51  v. 

Gomez  Moreno,  Manuel,  and  Pijoan  y  Soteras,  Jose. 
Materiales  de  arqueologia  espanola.    Madrid,  1912. 

Hubner,  Emil.  Die  antiken  Bildwerke  in  Madrid 
nebst  einem  Anhang  enthaltend  die  iibrigen  antiken 
Bildwerke  in  Spanien  und  Portugal.    Berlin,  1862. 

Jaubert  de  Passa,  Frangois  Jacques,  baron.  Notice 
historique  sur  la  ville  et  la  contree  d'Empuries. 
Paris,  1823. 

Laborde,  Alexandre  Louis  Joseph,  comte  de.  Des- 
cripcion  de  un  pavimento  en  mosayco  desctibierto 
en  la  antigua  Itdlica,  hoy  Santiponce  en  las  cercanias 
de  SeiAlla.     Paris,  1806. 

Itineraire  descriptif  de  I'Espagne.    Troisieme 


edition.    Paris,  1827-1830.    6v. 

Morales,  Ambrosio  de.  Las  antigiiedades  de  las 
ciudades  de  Espana  que  van  nombradas  en  la 
corSnica  con  las  averiguaciones  de  sus  sitios  y 
nombres  antiguos,  que  escrebia  Ambrosio  de 
Morales,  cronista  del  rey  catolico  nuestro  senor 
Don  Felipe  II.  Con  un  Discurso  general  del  autor, 
donde  se  ensena  todo  lo  que  a  estas  averiguaciones 


HISPANIC   SOCIETY    OF   AMERICA        35 

pertenece  para  hien  hacerlas,  y  entender  las  anti- 
giledades.  .  .Madrid,  1792.  {Coronica  general 
deEspana.    1791-1793.    v.  9-10.) 

Palomino  de  Castro  y  Velasco,  Acisclo  Antonio.  El 
Miiseo  pictorico  y  escala  optica.  Madrid,  1715- 
1724.     3v. 

Paris,  [Marie  Joseph]  Pierre.  Essai  sur  I'art  et 
Findustrie  de  VEspagne  primitive.  Paris,  1903- 
1904. 

Ponz,  Antonio.  Viage  de  Esparia,  en  que  se  da  noticia 
de  las  cosas  mas  apreciables  y  dignas  de  saberse, 
que  hay  en  ella.    Madrid,  1782-1794.     18v. 

Puig  y  Cadafalch,  Joseph.  L'arquitectura  romdnica 
a  Catalunya.     Barcelona,  1909. 

Siret,  Henri,  and  Siret,  Louis.  Les  premiers  ages  dn 
metal  dans  le  sud-est  de  VEspagne .  .  .siiivi  d'une 
Etude  ethnologique  par  le  Dr.  Victor  Jacques. 
Anvers,  1887. 

Album.     Anvers,  1887. 


Valcarcel  Pio  de  Saboya  y  Moura,  Antonio,  conde  de 
Lumiares.  Inscripciones  y  antigiiedades  del  reyno 
de  Valencia.     Madrid,  1852. 


.)     •! 


.**'    o 


36  ANTIQUE  MARBLES 

Villanueva,  Jaime.  Viage  literario  a  las  iglesias  de 
Espana.     Madrid,  1803-1852.     22v. 

See  also :  Revista  de  Archivos,  Bihliotecas  y  Museos, 
Madrid;  Boletin  de  la  Real  Academia  de  la  His- 
toria,  Madrid;  Boletin  de  la  Sociedad  Arqueo- 
logica  de  Sevilla;  Boletin  de  la  Sociedad  Arqiteo- 
logica  Barcelonesa;  Institut  d'Estudis  Catalans, 
Annuarij  Barcelona. 


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